Sounding the Seasons: Seventy Sonnets for the Christian Year. By Malcolm Guite. Norwich: Canterbury Press, 2012. ISBN 978-1-84825-274-5. Pp. xvii + 82. $14.99. sonnet has for many centuries been a means of conveying religious ideas in a succinct, but rich and moving manner. frequent use of the sonnet form by poets such as George Herbert and John Donne, through to a number of contemporary poets, testifies to its enduring value and viability. In Malcolm Guite's collection of seventy sonnets for the Christian year, he presents a carefully crafted assortment of poems that can enrich the spiritual life of anyone who chooses to read them in a reflective manner. Conceptually based, to some extent, on John Keble's Christian Year (1827), Guite's work offers the same reassuring familiarity with those patterns of devotional behavior that shape the Christian calendar. In an everchanging world, the delegated seasons, in which we respond to highlights in the biblical narrative, can provide constancy and comfort. Guite's sonnets speak into this space, this need in our lives. In his introduction he unashamedly positions his collection as an aid to weekly worship, as a resource for spiritual reaffirmation and as a supplement to the established liturgies and festivals within the Anglican Church. Any Christian believer, from any tradition, however, could not fail to be touched by their thoughtful, devout, sometimes joyful, often celebratory nature. sonnets can be read individually or in groups. Each sonnet by its very nature offers integrity and satisfaction when read alone, but reading a sequence of sonnets can also be very meaningful. Guite's seventy sonnets are grouped in such a way that they give maximum benefit for anyone wanting to use them for devotional purposes. There are sonnets written in response to the seven Great Antiphons, sonnets concerned with Christmastide, Epiphany, Holy Week, the Stations of the Cross, and other significant events on the church calendar. measured cadences of the iambic pentameter make them all suitable for both public worship or for private devotion. There are some noticeable preoccupations in this collection. Biblical figures are picked out for individual attention, some obviously associated with particular saints' days. There is a sonnet for each of the four evangelists, plus Paul, John the Baptist, Peter, Thomas the Apostle, Stephen, and Mary Magdalene, amongst others. Some of the most memorable sonnets concern the status of women within the New Testament narrative and other pious traditions. The Visitation Easter Dawn, meets the women of Jerusalem meets his mother Veronica wipes the face of Jesus, The anointing at Bethany, Mothering Sunday The Annunciation and Mary, are all poems that indicate a strong resonance on the poet's part with biblical expressions of sympathy and support, especially from Jesus himself, for the intrinsic place that women play in the outworking of God's purposes in the New Testament. In so many instances the pastoral heart of the poet becomes apparent. A last beatitude,' which celebrates the role of quiet, faithful church members who undertake less public, sometimes menial roles within the life of any local congregation, is a good example: And blessed are the ones we overlook / Invisible on earth, without a voice, / In heaven their angels glory and rejoice. Although the sonnet form imposes inherent restrictions in terms of length, line length and rhyming pattern (most of Guite's sonnets are either Shakespearean or Petrarchan) it is still possible to engender quite delightful and sometimes startling changes in mood and purpose. An examination of several examples from Guite's collection reveals how this is achieved. For example, O Sapientia has a strongly reverential, invocatory quality, unpacking a sequence of heartfelt, sometimes paradoxical expressions of our total dependence on divine sustenance: cannot think unless I have been thought, / Nor can I speak unless I have been spoken; / I cannot teach except as I am taught, / Or break the bread except as I am broken. …